Zeus’ Pity and Tears of Blood

For a longer commentary on this passage, see “Even Zeus Suffers…” on Painful Signs

Homer, Iliad 16.431-461

“As the son of crooked-minded Kronos was watching them, he felt pity
And he addressed Hera, his sister and wife:
“Shit. Look, it is fate for the man most dear to me, Sarpedon,
To be overcome by Patroklos, son of Menoitios.
My hearts is split in two as I rush through my thoughts:
Either I will snatch him up still alive from the lamentable battle
And set him down in the rich deme of Lykia,
Or I will overcome him already at the hands of Patroklos.”

“Then queen, ox-eyed Hera answered him
Most shameful son of Kronos, what kind of a thing have you said.
Do you really want to rescue from discordant death
When it was long ago fated for this man because he is mortal?
Do it. But the rest of the gods will not praise you for it.
I’ll tell you something else, and keep this in your thoughts:
If you send Sarpedon alive to his own home,
Think about how one of the other gods won’t want
To send their dear son free of the oppressive conflict.
For around the great city of Priam there are many sons
Of the immortals fighting, and you will incite rage in those gods.
But if this is ear to you, and your heart does mourn,
Let him stay in the oppressive battle indeed
To be overcome by the hands of Patroklos, Menoitios’ son.
Then when his soul and and his life leaves him,
Have death and sweet sleep take him until
They arrive at the land of broad Lykia.
There, his relatives and friends will bury him
With a tomb and a marker. This is the honor due to the dead.

“So she spoke, and the father of men and gods did not disobey her.
He was shedding bloody teardrops to the ground,
Honoring his dear son, the one Patroklos was about to destroy
Far off from his fatherland in fertile Troy.”

τοὺς δὲ ἰδὼν ἐλέησε Κρόνου πάϊς ἀγκυλομήτεω,
῞Ηρην δὲ προσέειπε κασιγνήτην ἄλοχόν τε·
ὤ μοι ἐγών, ὅ τέ μοι Σαρπηδόνα φίλτατον ἀνδρῶν
μοῖρ’ ὑπὸ Πατρόκλοιο Μενοιτιάδαο δαμῆναι.
διχθὰ δέ μοι κραδίη μέμονε φρεσὶν ὁρμαίνοντι,
ἤ μιν ζωὸν ἐόντα μάχης ἄπο δακρυοέσσης
θείω ἀναρπάξας Λυκίης ἐν πίονι δήμῳ,
ἦ ἤδη ὑπὸ χερσὶ Μενοιτιάδαο δαμάσσω.
Τὸν δ’ ἠμείβετ’ ἔπειτα βοῶπις πότνια ῞Ηρη·
αἰνότατε Κρονίδη ποῖον τὸν μῦθον ἔειπες.
ἄνδρα θνητὸν ἐόντα πάλαι πεπρωμένον αἴσῃ
ἂψ ἐθέλεις θανάτοιο δυσηχέος ἐξαναλῦσαι;
ἔρδ’· ἀτὰρ οὔ τοι πάντες ἐπαινέομεν θεοὶ ἄλλοι.
ἄλλο δέ τοι ἐρέω, σὺ δ’ ἐνὶ φρεσὶ βάλλεο σῇσιν·
αἴ κε ζὼν πέμψῃς Σαρπηδόνα ὃν δὲ δόμον δέ,
φράζεο μή τις ἔπειτα θεῶν ἐθέλῃσι καὶ ἄλλος
πέμπειν ὃν φίλον υἱὸν ἀπὸ κρατερῆς ὑσμίνης·
πολλοὶ γὰρ περὶ ἄστυ μέγα Πριάμοιο μάχονται
υἱέες ἀθανάτων, τοῖσιν κότον αἰνὸν ἐνήσεις.
ἀλλ’ εἴ τοι φίλος ἐστί, τεὸν δ’ ὀλοφύρεται ἦτορ,
ἤτοι μέν μιν ἔασον ἐνὶ κρατερῇ ὑσμίνῃ
χέρσ’ ὕπο Πατρόκλοιο Μενοιτιάδαο δαμῆναι·
αὐτὰρ ἐπὴν δὴ τόν γε λίπῃ ψυχή τε καὶ αἰών,
πέμπειν μιν θάνατόν τε φέρειν καὶ νήδυμον ὕπνον
εἰς ὅ κε δὴ Λυκίης εὐρείης δῆμον ἵκωνται,
ἔνθά ἑ ταρχύσουσι κασίγνητοί τε ἔται τε
τύμβῳ τε στήλῃ τε· τὸ γὰρ γέρας ἐστὶ θανόντων.

῝Ως ἔφατ’, οὐδ’ ἀπίθησε πατὴρ ἀνδρῶν τε θεῶν τε·
αἱματοέσσας δὲ ψιάδας κατέχευεν ἔραζε
παῖδα φίλον τιμῶν, τόν οἱ Πάτροκλος ἔμελλε
φθίσειν ἐν Τροίῃ ἐριβώλακι τηλόθι πάτρης.

Color Photograph of a vase showing Sarpedon’s body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches. Side A of the so-called “Euphronios krater”, Attic red-figured calyx-krater signed by Euxitheos (potter) and Euphronios (painter), ca. 515 BC.
Sarpedon’s body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches. Side A of the so-called “Euphronios krater”, Attic red-figured calyx-krater signed by Euxitheos (potter) and Euphronios (painter), ca. 515 BC.

Odysseus, a Deer?

Homer, Iliad 11.473-486.

They found Odysseus, dear to Zeus, swarmed
by Trojans, like when light-brown mountain jackals
crowd round an antlered deer a man’s struck
with an arrow. The deer bolted from him,
scooting while its blood was warm and knees limber.
But when the fast arrow does the deer in,
flesh-eating jackals snarf it down in a glade’s
shade. But a god leads a lion against them,
a hungry one: jackals scurry, lion sups.
Just so, round wise and deft Odysseus
many able Trojans swarmed, but the hero,
flashing his spear, saw off the cruel day.
Ajax with his tower-like shield came
and stood before him. The Trojans scurried pell-mell.

εὗρον ἔπειτʼ Ὀδυσῆα Διῒ φίλον· ἀμφὶ δʼ ἄρʼ αὐτὸν
Τρῶες ἕπονθʼ ὡς εἴ τε δαφοινοὶ θῶες ὄρεσφιν
ἀμφʼ ἔλαφον κεραὸν βεβλημένον, ὅν τʼ ἔβαλʼ ἀνὴρ
ἰῷ ἀπὸ νευρῆς· τὸν μέν τʼ ἤλυξε πόδεσσι
φεύγων, ὄφρʼ αἷμα λιαρὸν καὶ γούνατʼ ὀρώρῃ·
αὐτὰρ ἐπεὶ δὴ τόν γε δαμάσσεται ὠκὺς ὀϊστός,
ὠμοφάγοι μιν θῶες ἐν οὔρεσι δαρδάπτουσιν
ἐν νέμεϊ σκιερῷ· ἐπί τε λῖν ἤγαγε δαίμων
σίντην· θῶες μέν τε διέτρεσαν, αὐτὰρ ὃ δάπτει·
ὥς ῥα τότʼ ἀμφʼ Ὀδυσῆα δαΐφρονα ποικιλομήτην
Τρῶες ἕπον πολλοί τε καὶ ἄλκιμοι, αὐτὰρ ὅ γʼ ἥρως
ἀΐσσων ᾧ ἔγχει ἀμύνετο νηλεὲς ἦμαρ.
Αἴας δʼ ἐγγύθεν ἦλθε φέρων σάκος ἠΰτε πύργον,
στῆ δὲ παρέξ· Τρῶες δὲ διέτρεσαν ἄλλυδις ἄλλος.

From the Scholia:

Schol. ad Il. bT. 11.475a.

475. crowded round an antlered deer: Odysseus is likened to a deer, but he is not pathetic. The demonstrable force of the comparison is not that; rather, it is their similar suffering. It [the simile] likens him to the dying deer in order to emphasize the danger [he, Odysseus, is in].

475 α. άμφ’ ελαφον (κεραόν βεβλημένον): où δειλός ό Όδυσσευs, ότι έλάφω εϊκασται · où yàp Ισχύος δηλωτικὸν τό της παραβολής, άλλα των όμοιων παθημάτων. Θανούσῃ δέ αύτόν έλάφῳ εικάζει, Ινα αύξησῃ τον κίνδυνον.

Color photograph of an oil painting of a deer with antlers in its death throes
Edwin Henry Landseer
Dying Stag (ca.1830)
Metropolitan Museum of Art, NY.

 

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

Did He Die or Not?

Homer. Iliad. 11.349-360.

. . . [Diomedes] hurled his long-shadowed spear
at Hector’s head and did not miss: he hit
his helmet’s tip. But bronze deflected bronze
from fair skin: the spear failed on Hector’s headpiece
(three layers, cone shaped, Phoebus Apollo’s gift).
Hector scurried back and blended with the pack,
fell to his knee and stayed there, thick hand bracing
the ground. Black night blanketed his eyes.
But while Tydeus’s son tracked his spear’s woosh
to where it fell far beyond the first fighters,
Hector revived, scuttered into his car,
and off he drove, into the crush of men.
He’d given black fate the slip.

ἦ ῥα, καὶ ἀμπεπαλὼν προΐει δολιχόσκιον ἔγχος
καὶ βάλεν, οὐδʼ ἀφάμαρτε τιτυσκόμενος κεφαλῆφιν,
ἄκρην κὰκ κόρυθα· πλάγχθη δʼ ἀπὸ χαλκόφι χαλκός,
οὐδʼ ἵκετο χρόα καλόν· ἐρύκακε γὰρ τρυφάλεια
τρίπτυχος αὐλῶπις, τήν οἱ πόρε Φοῖβος Ἀπόλλων.
Ἕκτωρ δʼ ὦκʼ ἀπέλεθρον ἀνέδραμε, μίκτο δʼ ὁμίλῳ,
στῆ δὲ γνὺξ ἐριπὼν καὶ ἐρείσατο χειρὶ παχείῃ
γαίης· ἀμφὶ δὲ ὄσσε κελαινὴ νὺξ ἐκάλυψεν.
ὄφρα δὲ Τυδεΐδης μετὰ δούρατος ᾤχετʼ ἐρωὴν
τῆλε διὰ προμάχων, ὅθι οἱ καταείσατο γαίης
τόφρʼ Ἕκτωρ ἔμπνυτο, καὶ ἂψ ἐς δίφρον ὀρούσας
ἐξέλασʼ ἐς πληθύν, καὶ ἀλεύατο κῆρα μέλαιναν.

11.355-356. “[F]ell to his knee and stayed there . . . Black night blanketed his eyes” (στῆ δὲ γνὺξ ἐριπὼν . . . ἀμφὶ δὲ ὄσσε κελαινὴ νὺξ ἐκάλυψεν): 

The controversy in the scholia:

One scholiast says of Homer and these verses:  

“The blind one is fond of lies, and he is the perfect liar. For first, Hector was not wounded, as he himself says, and then there’s the scurrying [ἀνέδραμε] of a man who has his strength (11.354). Isn’t an account of why he fell to his knees and died of something insignificant missing?  

ώς φιλοψευδής ό τυφλός,  ότι και άριστα ψεύδεται· πρώτον μέν γάρ ούκ έτρώθη ó “Εκτωρ, ώς αύτός φησιν, . . . είτα δέ καί τό άναδραμεϊν (cf. Λ 354) πολύ έρρωμένου τινός έστιν. πώς ούν καί έπεσεν έπί γούνατα καί απέθανε μικρού δεΐν; (Schol. A. ad Il. 11.355c. ex vel. Porph.)

This scholiast and others, as well as the poem’s ancient editors, were vexed by the formular indication of Hector’s death (“black night blanketed his eyes”) when Hector obviously survived Diomedes’ spear. 

The scholia explains the seemingly inappropriate use of the formula in 11.355-356 by offering that it was improperly transferred from the 5.309-310 account of Aeneas (Schol. A. 356a. and T. 356c).

An alternative theory:

In Book 5, Apollo’s actions saved Aeneas following a boulder’s blow to the warrior’s hip  (5.343-346).  

In Book 11, Apollo’s action saved Hector from a spear’s assault: he had gifted Hector a spear-stopping helmet. 

The Cambridge Commentary says that the ascription of the helmet to Apollo is only an idiom for the gear’s strength and good construction. 

I’m not sure that’s right. It seems to me the helmet is in fact a metonym for Apollo’s intervention. That is to say, it is through the helmet that Apollo saved Hector. I’m building on what an insightful scholiast says: 

“He [Hector] would have died, were it not for the divinity of the helmet” ( . . . άπέθανεν αν, εί μή διά την θειότητα τοϋ so κράνους [Schol. T. 353b]). 

It is divinity itself, not good metalworking, which saved Hector. The divinity is an emanation from Apollo.  

In both the Aeneas and Hector episodes, (1) it is Diomedes who attempts a kill, (2) he only just fails, and that’s thanks to (3) Apollo’s intervention. Perhaps we can say that the formular verses “[he] fell to his knee and stayed there . . . black night blanketed his eyes” belong to a larger formula whose elements are Diomedes, a warrior’s near death at his hand, and Apollo’s saving intervention.

color photograph of pallbearers carrying a white coffin
Not a scene from the extant Iliad.

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

All Unhappy Families….

Homer, Iliad 9. 447-461

. . . I first fled Hellas famed for fine women
after rows with my father, Amuntor, son of Ormenus.
He was enraged with me over his well-coiffed mistress.
He loved this woman and he disgraced his wife,
my mother. She pleaded with me all the time
to screw the mistress–make her rebuff the old man.
Persuaded, I did it. But my father found out,
cursed me bitterly, called on the hated Furies
that he never hold a dear son of mine
on his knees. The gods fulfilled the curse,
chthonian Zeus and dread Persephone.

I planned to cut him down with my sharp sword,
but a god checked my rage–he showed my heart
what folks would say, people’s bitter insults–
so I wouldn’t be “father-killer” among Achaeans.

***The final 4 lines are recorded by Plutarch but do not appear in manuscripts or papyri of the epic. Plutarch claims without evidence Aristarchus excised the lines.

οἷον ὅτε πρῶτον λίπον Ἑλλάδα καλλιγύναικα
φεύγων νείκεα πατρὸς Ἀμύντορος Ὀρμενίδαο,
ὅς μοι παλλακίδος περιχώσατο καλλικόμοιο,
τὴν αὐτὸς φιλέεσκεν, ἀτιμάζεσκε δʼ ἄκοιτιν
μητέρʼ ἐμήν· ἣ δʼ αἰὲν ἐμὲ λισσέσκετο γούνων
παλλακίδι προμιγῆναι, ἵνʼ ἐχθήρειε γέροντα.
τῇ πιθόμην καὶ ἔρεξα· πατὴρ δʼ ἐμὸς αὐτίκʼ ὀϊσθεὶς
πολλὰ κατηρᾶτο, στυγερὰς δʼ ἐπεκέκλετʼ Ἐρινῦς,
μή ποτε γούνασιν οἷσιν ἐφέσσεσθαι φίλον υἱὸν
ἐξ ἐμέθεν γεγαῶτα· θεοὶ δʼ ἐτέλειον ἐπαρὰς

τὸν μὲν ἐγὼ βούλευσα κατακτάμεν ὀξέϊ χαλκῷ:
ἀλλά τις ἀθανάτων παῦσεν χόλον, ὅς ῥ’ ἐνὶ θυμῷ
δήμου θῆκε φάτιν καὶ ὀνείδεα πόλλ’ ἀνθρώπων,
ὡς μὴ πατροφόνος μετ’ Ἀχαιοῖσιν καλεοίμην.

Ingmar Bergman. Scenes from a Marriage.

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

All Unhappy Families….

Homer, Iliad 9. 447-461

. . . I first fled Hellas famed for fine women
after rows with my father, Amuntor, son of Ormenus.
He was enraged with me over his well-coiffed mistress.
He loved this woman and he disgraced his wife,
my mother. She pleaded with me all the time
to screw the mistress–make her rebuff the old man.
Persuaded, I did it. But my father found out,
cursed me bitterly, called on the hated Furies
that he never hold a dear son of mine
on his knees. The gods fulfilled the curse,
chthonian Zeus and dread Persephone.

I planned to cut him down with my sharp sword,
but a god checked my rage–he showed my heart
what folks would say, people’s bitter insults–
so I wouldn’t be “father-killer” among Achaeans.

***The final 4 lines are recorded by Plutarch but do not appear in manuscripts or papyri of the epic. Plutarch claims without evidence Aristarchus excised the lines.

οἷον ὅτε πρῶτον λίπον Ἑλλάδα καλλιγύναικα
φεύγων νείκεα πατρὸς Ἀμύντορος Ὀρμενίδαο,
ὅς μοι παλλακίδος περιχώσατο καλλικόμοιο,
τὴν αὐτὸς φιλέεσκεν, ἀτιμάζεσκε δʼ ἄκοιτιν
μητέρʼ ἐμήν· ἣ δʼ αἰὲν ἐμὲ λισσέσκετο γούνων
παλλακίδι προμιγῆναι, ἵνʼ ἐχθήρειε γέροντα.
τῇ πιθόμην καὶ ἔρεξα· πατὴρ δʼ ἐμὸς αὐτίκʼ ὀϊσθεὶς
πολλὰ κατηρᾶτο, στυγερὰς δʼ ἐπεκέκλετʼ Ἐρινῦς,
μή ποτε γούνασιν οἷσιν ἐφέσσεσθαι φίλον υἱὸν
ἐξ ἐμέθεν γεγαῶτα· θεοὶ δʼ ἐτέλειον ἐπαρὰς

τὸν μὲν ἐγὼ βούλευσα κατακτάμεν ὀξέϊ χαλκῷ:
ἀλλά τις ἀθανάτων παῦσεν χόλον, ὅς ῥ’ ἐνὶ θυμῷ
δήμου θῆκε φάτιν καὶ ὀνείδεα πόλλ’ ἀνθρώπων,
ὡς μὴ πατροφόνος μετ’ Ἀχαιοῖσιν καλεοίμην.

Ingmar Bergman. Scenes from a Marriage.

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

Calling on Achilles

Homer, Iliad 9.182-204.

They made their way along the shore of the crashing sea,
praying earnestly to Earth-Bearer Earthquaker
that it would be easy to sway Aeacus’s proud-hearted kin.
They arrived at the Myrmidon huts and ships
and found him lifting his spirits with the lyre,
one with clear notes, handsome, ornate, its bridge made of silver.
He had taken it from the spoils of Eetion’s sacked city,
and with it he cheered himself up, singing of men’s famous deeds.
Only Patroclus sat with him, and in silence
he waited for the grandson of Aeacus to end his song.

The party stepped forward, noble Odysseus in the lead.
Now they stood before him. Achilles jumped up, flabbergasted.
He had left his seat, but held his lyre.
When Patroclus saw the men he too reacted, and stood.
Fast-footed Achilles welcomed them:
“Greetings! Dear men have come (the need must be great!),
the Achaeans I love most, even in my anger.”

After these words, noble Achilles ushered the party in
and seated them on couches and purple carpets.
He told Patroclus who was standing near:
“Set out the mixing bowl, son of Menoitius!
Mix the wine quite strong! A cup for each man!
Those I love most are under my roof!”

τὼ δὲ βάτην παρὰ θῖνα πολυφλοίσβοιο θαλάσσης
πολλὰ μάλʼ εὐχομένω γαιηόχῳ ἐννοσιγαίῳ
ῥηϊδίως πεπιθεῖν μεγάλας φρένας Αἰακίδαο.
Μυρμιδόνων δʼ ἐπί τε κλισίας καὶ νῆας ἱκέσθην,
τὸν δʼ εὗρον φρένα τερπόμενον φόρμιγγι λιγείῃ
καλῇ δαιδαλέῃ, ἐπὶ δʼ ἀργύρεον ζυγὸν ἦεν,
τὴν ἄρετʼ ἐξ ἐνάρων πόλιν Ἠετίωνος ὀλέσσας·
τῇ ὅ γε θυμὸν ἔτερπεν, ἄειδε δʼ ἄρα κλέα ἀνδρῶν.
Πάτροκλος δέ οἱ οἶος ἐναντίος ἧστο σιωπῇ,
δέγμενος Αἰακίδην ὁπότε λήξειεν ἀείδων,
τὼ δὲ βάτην προτέρω, ἡγεῖτο δὲ δῖος Ὀδυσσεύς,
στὰν δὲ πρόσθʼ αὐτοῖο· ταφὼν δʼ ἀνόρουσεν Ἀχιλλεὺς
αὐτῇ σὺν φόρμιγγι λιπὼν ἕδος ἔνθα θάασσεν.
ὣς δʼ αὔτως Πάτροκλος, ἐπεὶ ἴδε φῶτας, ἀνέστη.
τὼ καὶ δεικνύμενος προσέφη πόδας ὠκὺς Ἀχιλλεύς·
χαίρετον· ἦ φίλοι ἄνδρες ἱκάνετον ἦ τι μάλα χρεώ,
οἵ μοι σκυζομένῳ περ Ἀχαιῶν φίλτατοί ἐστον.
ὣς ἄρα φωνήσας προτέρω ἄγε δῖος Ἀχιλλεύς,
εἷσεν δʼ ἐν κλισμοῖσι τάπησί τε πορφυρέοισιν.
αἶψα δὲ Πάτροκλον προσεφώνεεν ἐγγὺς ἐόντα·
μείζονα δὴ κρητῆρα Μενοιτίου υἱὲ καθίστα,
ζωρότερον δὲ κέραιε, δέπας δʼ ἔντυνον ἑκάστῳ·
οἳ γὰρ φίλτατοι ἄνδρες ἐμῷ ὑπέασι μελάθρῳ.

Face mask depicting Achilles playing the lyre before Patroclus et al.
A Gerard de Lairesse is selling it for $17.

Larry Benn has a B.A. in English Literature from Harvard College, an M.Phil in English Literature from Oxford University, and a J.D. from Yale Law School. Making amends for a working life misspent in finance, he’s now a hobbyist in ancient languages and blogs at featsofgreek.blogspot.com.

The Omen Before the Wall

Homer, Iliad 12. 195–229

“As long as they were stripping them of their gleaming weapons,
The young men who were the best and the greatest in number were following
Poulydamas and Hektor, they were especially eager to break the wall
And set fire to the ships. They were still struggling standing before the wall
When a bird went over them as they were struggling to cross it,
A high-flying eagle moving its way over the left side of the army
Holding in its talons a huge dark red snake
Still alive, breathing: it had not yet lost its fighting spirit.
For it struck back at the bird who held him in the skin along the chest
As it bent double. And the bird tossed him away to the ground
tortured with pains. It dropped the snake in the middle of the throng
But flew away on the breath of the wind, sounding out in pain.
The Trojans shivered when they saw the winding serpent
Lying there, a sign from Aegis-bearing Zeus.

Then Polydamas stood aside and addressed bold Hektor:
“Hektor, you are always threatening me in the public assemblies for some reason,
Even when I advise well, since it is not ever deemed proper
For some member of the people to advise differently, either in council
Or in war. Instead, we must always increase your strength.
But now I will tell you what seems to me to be best.
Let’s not go to fight the Danaans around their ships.
I think that it will turn out this way, if truly this bird
Came over the Trojans as we struggled to cross the wall,
A high-flying eagle moving its way over the left side of the army
Holding in its talons a huge dark red snake
Still alive. For it dropped it before it could return to its dear home
And did not complete the task of giving it to his children.
In the same way we, if we break through the gates and walls
Of the Achaeans by means of great strength and the Achaeans yield
So too we will not find the same paths in order among the ships.
We will lose many Trojans there as the Achaeans
Strike them down with bronze will defending the ships/
This is how a prophet would interpret, one who clearly understands
In his heart divine signs and one the people obey.”

῎Οφρ’ οἳ τοὺς ἐνάριζον ἀπ’ ἔντεα μαρμαίροντα,
τόφρ’ οἳ Πουλυδάμαντι καὶ ῞Εκτορι κοῦροι ἕποντο,
οἳ πλεῖστοι καὶ ἄριστοι ἔσαν, μέμασαν δὲ μάλιστα
τεῖχός τε ῥήξειν καὶ ἐνιπρήσειν πυρὶ νῆας,
οἵ ῥ’ ἔτι μερμήριζον ἐφεσταότες παρὰ τάφρῳ.
ὄρνις γάρ σφιν ἐπῆλθε περησέμεναι μεμαῶσιν
αἰετὸς ὑψιπέτης ἐπ’ ἀριστερὰ λαὸν ἐέργων
φοινήεντα δράκοντα φέρων ὀνύχεσσι πέλωρον
ζωὸν ἔτ’ ἀσπαίροντα, καὶ οὔ πω λήθετο χάρμης,
κόψε γὰρ αὐτὸν ἔχοντα κατὰ στῆθος παρὰ δειρὴν
ἰδνωθεὶς ὀπίσω· ὃ δ’ ἀπὸ ἕθεν ἧκε χαμᾶζε
ἀλγήσας ὀδύνῃσι, μέσῳ δ’ ἐνὶ κάββαλ’ ὁμίλῳ,
αὐτὸς δὲ κλάγξας πέτετο πνοιῇς ἀνέμοιο.
Τρῶες δ’ ἐρρίγησαν ὅπως ἴδον αἰόλον ὄφιν
κείμενον ἐν μέσσοισι Διὸς τέρας αἰγιόχοιο.
δὴ τότε Πουλυδάμας θρασὺν ῞Εκτορα εἶπε παραστάς·
῞Εκτορ ἀεὶ μέν πώς μοι ἐπιπλήσσεις ἀγορῇσιν
ἐσθλὰ φραζομένῳ, ἐπεὶ οὐδὲ μὲν οὐδὲ ἔοικε
δῆμον ἐόντα παρὲξ ἀγορευέμεν, οὔτ’ ἐνὶ βουλῇ
οὔτέ ποτ’ ἐν πολέμῳ, σὸν δὲ κράτος αἰὲν ἀέξειν·
νῦν αὖτ’ ἐξερέω ὥς μοι δοκεῖ εἶναι ἄριστα.
μὴ ἴομεν Δαναοῖσι μαχησόμενοι περὶ νηῶν.
ὧδε γὰρ ἐκτελέεσθαι ὀΐομαι, εἰ ἐτεόν γε
Τρωσὶν ὅδ’ ὄρνις ἦλθε περησέμεναι μεμαῶσιν
αἰετὸς ὑψιπέτης ἐπ’ ἀριστερὰ λαὸν ἐέργων
φοινήεντα δράκοντα φέρων ὀνύχεσσι πέλωρον
ζωόν· ἄφαρ δ’ ἀφέηκε πάρος φίλα οἰκί’ ἱκέσθαι,
οὐδ’ ἐτέλεσσε φέρων δόμεναι τεκέεσσιν ἑοῖσιν.
ὣς ἡμεῖς, εἴ πέρ τε πύλας καὶ τεῖχος ᾿Αχαιῶν
ῥηξόμεθα σθένεϊ μεγάλῳ, εἴξωσι δ’ ᾿Αχαιοί,
οὐ κόσμῳ παρὰ ναῦφιν ἐλευσόμεθ’ αὐτὰ κέλευθα·
πολλοὺς γὰρ Τρώων καταλείψομεν, οὕς κεν ᾿Αχαιοὶ
χαλκῷ δῃώσωσιν ἀμυνόμενοι περὶ νηῶν.
ὧδέ χ’ ὑποκρίναιτο θεοπρόπος, ὃς σάφα θυμῷ
εἰδείη τεράων καί οἱ πειθοίατο λαοί.

Eagle with Snake from Olympia, c. 5th Century BCE

Who Cares about Bird-Signs?

Homer, Iliad 12.230–257

“Glaring at him, shining-helmed Hektor answered:
Poulydamas, you never announce things dear to me in public.
You know how to make a different, better speech than this one.
If you are really arguing this out loud earnestly,
Well then the gods have ruined your thoughts themselves,
You who order me to forget the counsels of loud-thundering Zeus,
What he himself promised and assented to for me.
Now you ask me to listen to some tender-winged bird?
I don’t notice or care at all about these birds,
Whether they go to the right to dawn and the sun
Or whether they go to the left to the dusky gloom.
We are obeying the plan of great Zeus.
He rules over all the mortals and the immortal too.
One bird omen is best: defend your fatherland.
Why do you fear the war and strife so much?
If all the rest of us are really killed around
The Argive ships, there’s no fear for you in dying.
Your heart is not brave nor battle-worthy.
But if you keep back from the fight, or if you turn
Any other away from the war by plying him with words,
Well you’ll die straight away then, struck down by my spear.”

So he spoke and led on, and they followed him
With a divine echo. Zeus who delights in thunder
Drove a gust of wind down from the Idaian slopes,
Which carried dust straight over the ships. It froze the minds
Of the Achaeans and gave hope to the Trojans and Hektor.
Trusting in these signs and their own strength,
They were trying to break through the great wall of the Achaeans.”

Τὸν δ’ ἄρ’ ὑπόδρα ἰδὼν προσέφη κορυθαίολος ῞Εκτωρ·
Πουλυδάμα, σὺ μὲν οὐκ ἔτ’ ἐμοὶ φίλα ταῦτ’ ἀγορεύεις·
οἶσθα καὶ ἄλλον μῦθον ἀμείνονα τοῦδε νοῆσαι.
εἰ δ’ ἐτεὸν δὴ τοῦτον ἀπὸ σπουδῆς ἀγορεύεις,
ἐξ ἄρα δή τοι ἔπειτα θεοὶ φρένας ὤλεσαν αὐτοί,
ὃς κέλεαι Ζηνὸς μὲν ἐριγδούποιο λαθέσθαι
βουλέων, ἅς τέ μοι αὐτὸς ὑπέσχετο καὶ κατένευσε·
τύνη δ’ οἰωνοῖσι τανυπτερύγεσσι κελεύεις
πείθεσθαι, τῶν οὔ τι μετατρέπομ’ οὐδ’ ἀλεγίζω
εἴτ’ ἐπὶ δεξί’ ἴωσι πρὸς ἠῶ τ’ ἠέλιόν τε,
εἴτ’ ἐπ’ ἀριστερὰ τοί γε ποτὶ ζόφον ἠερόεντα.
ἡμεῖς δὲ μεγάλοιο Διὸς πειθώμεθα βουλῇ,
ὃς πᾶσι θνητοῖσι καὶ ἀθανάτοισιν ἀνάσσει.
εἷς οἰωνὸς ἄριστος ἀμύνεσθαι περὶ πάτρης.
τίπτε σὺ δείδοικας πόλεμον καὶ δηϊοτῆτα;
εἴ περ γάρ τ’ ἄλλοι γε περὶ κτεινώμεθα πάντες
νηυσὶν ἐπ’ ᾿Αργείων, σοὶ δ’ οὐ δέος ἔστ’ ἀπολέσθαι·
οὐ γάρ τοι κραδίη μενεδήϊος οὐδὲ μαχήμων.
εἰ δὲ σὺ δηϊοτῆτος ἀφέξεαι, ἠέ τιν’ ἄλλον
παρφάμενος ἐπέεσσιν ἀποτρέψεις πολέμοιο,
αὐτίκ’ ἐμῷ ὑπὸ δουρὶ τυπεὶς ἀπὸ θυμὸν ὀλέσσεις.
῝Ως ἄρα φωνήσας ἡγήσατο, τοὶ δ’ ἅμ’ ἕποντο
ἠχῇ θεσπεσίῃ· ἐπὶ δὲ Ζεὺς τερπικέραυνος
ὦρσεν ἀπ’ ᾿Ιδαίων ὀρέων ἀνέμοιο θύελλαν,
ἥ ῥ’ ἰθὺς νηῶν κονίην φέρεν· αὐτὰρ ᾿Αχαιῶν
θέλγε νόον, Τρωσὶν δὲ καὶ ῞Εκτορι κῦδος ὄπαζε.
τοῦ περ δὴ τεράεσσι πεποιθότες ἠδὲ βίηφι
ῥήγνυσθαι μέγα τεῖχος ᾿Αχαιῶν πειρήτιζον.

Schol. T ad Il. 12.238–238

“you order me to obey bird signs: the prudent person will both honor the gods and obey birdsigns, like Odysseus does. This is obeying instead of believing.

τύνη δ’ οἰωνοῖσι<—κελεύεις / πείθεσθαι>: ὁ φρόνιμος καὶ θεοὺς τιμήσει καὶ οἰωνοῖς πείσεται, ὡς ὁ ᾿Οδυσσεύς (cf. Κ 274—82). τὸ δὲ πείθεσθαι (238) ἀντὶ τοῦ πιστεύειν.

Schol b. ad Il. 12.238

“The prudent person both knows to honor god and to obey bird signs, a thing which Hektor does not understand”

ὁ φρόνιμος καὶ θεὸν τιμᾶν οἶδε καὶ οἰωνοῖς πείθεσθαι, ὅπερ ῞Εκτωρ οὐ συνίησιν.

Black Figure Amphora, Walters Art Museum Baltimore

Briseis Weeps

For more on the Iliad from Briseis’ point of view,  see the extraordinary anonymous essay, Just a Girl: Being Briseis

D Scholia to the Iliad:

“The Poet seems to use their patronymic names and not their personal ones, for other ancient accounts notes that [Chryseis] was named Astynomê and [Briseis] was named Hippodameia.”

ἔοικε δὲ πατρωνυμικῶς τὰ ὀνόματα αὐτῶν σχηματίζειν ὁ Ποιητὴς, καὶ οὐ κυρίως. ὡς γὰρ οἱ ἄλλοι ἀρχαῖοι ἱστοροῦσιν, ἡ μὲν, ᾿Αστυνόμη ἐκαλεῖτο, ἡ δὲ, ῾Ιπποδάμεια.

Homer Iliad 19. 281-302

“Then when Briseis, like golden Aphrodite herself,
Saw Patroklos run through with sharp bronze,
Poured herself over him while she wailed and ripped
At her chest, tender neck, and pretty face with her hands.
And while mourning the woman spoke like one of the goddesses:

“Patroklos, you were the dearest to wretched me and
I left you alive when I went from your dwelling.
And now I find you here dead, leader of the armies,
When I return. Troubles are always wresting me from troubles.
The husband my father and mother gave me to
I watched run through with sharp bronze in front of the city,
And then the three brothers my mother bore,
Dear siblings, all met their fate on that day.
But you would not ever let me weep when swift Achilles
Was killing my husband and when he sacked the city of divine Munêtos—
No, you used to promise to make me the wedded wife
Of divine Achilles, someone he would lead home in his ships to Phthia,
where you would light the marriage torches among the Myrmidons.
So now I weep for you, dead and gentle forever.”
So she spoke, while weeping….

Βρισηῒς δ’ ἄρ’ ἔπειτ’ ἰκέλη χρυσέῃ ᾿Αφροδίτῃ
ὡς ἴδε Πάτροκλον δεδαϊγμένον ὀξέϊ χαλκῷ,
ἀμφ’ αὐτῷ χυμένη λίγ’ ἐκώκυε, χερσὶ δ’ ἄμυσσε
στήθεά τ’ ἠδ’ ἁπαλὴν δειρὴν ἰδὲ καλὰ πρόσωπα.
εἶπε δ’ ἄρα κλαίουσα γυνὴ ἐϊκυῖα θεῇσι·
Πάτροκλέ μοι δειλῇ πλεῖστον κεχαρισμένε θυμῷ
ζωὸν μέν σε ἔλειπον ἐγὼ κλισίηθεν ἰοῦσα,
νῦν δέ σε τεθνηῶτα κιχάνομαι ὄρχαμε λαῶν
ἂψ ἀνιοῦσ’· ὥς μοι δέχεται κακὸν ἐκ κακοῦ αἰεί.
ἄνδρα μὲν ᾧ ἔδοσάν με πατὴρ καὶ πότνια μήτηρ
εἶδον πρὸ πτόλιος δεδαϊγμένον ὀξέϊ χαλκῷ,
τρεῖς τε κασιγνήτους, τούς μοι μία γείνατο μήτηρ,
κηδείους, οἳ πάντες ὀλέθριον ἦμαρ ἐπέσπον.
οὐδὲ μὲν οὐδέ μ’ ἔασκες, ὅτ’ ἄνδρ’ ἐμὸν ὠκὺς ᾿Αχιλλεὺς
ἔκτεινεν, πέρσεν δὲ πόλιν θείοιο Μύνητος,
κλαίειν, ἀλλά μ’ ἔφασκες ᾿Αχιλλῆος θείοιο
κουριδίην ἄλοχον θήσειν, ἄξειν τ’ ἐνὶ νηυσὶν
ἐς Φθίην, δαίσειν δὲ γάμον μετὰ Μυρμιδόνεσσι.
τώ σ’ ἄμοτον κλαίω τεθνηότα μείλιχον αἰεί.
῝Ως ἔφατο κλαίουσ’…

For an exploration of this speech from compositional and thematic perspectives, see Casey Dué ‘s Homeric Variations on a Lament by Briseis.

Psst, What’s the Password? Reading Euripides’ “Rhesus” Online

Euripides’ Rhesus 34-34

“Some news you announce is frightening to hear
Some of it gives me hope. Nothing is clear at all!”

τὰ μὲν ἀγγέλλεις δείματ᾿ ἀκούειν,
τὰ δὲ θαρσύνεις, κοὐδὲν καθαρῶς.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ since the beginning of the US lockdown in March. As our director Paul O’Mahony has put it, since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Last week, we turned to the most tragic of epics (according to Aristotle, at least), Homer’s Iliad.

This week we remain in Trojan War material but return to tragedy with the Rhesus, traditionally attributed to Euripides. This play covers the same basic events of Iliad 10 where Diomedes and Odysseus go out to spy on the Trojans at night and end up slaughtering the Thracian king Rhesus and his men to steal his horses. Euripides’ play give us a little more from both sides: we see a somewhat more monstrous Hektor, get to hear from Rhesus himself and are invited to see the slaughter as a calamity worthy of attention on its own.

In performing the play. we are less interested in whether or not it is genuinely Euripides–and its authenticity has been doubted for some time because of its contents and its style–than we are in how and why this play may have appealed to ancient audiences and what it has to tell us about the reception of Trojan War figures on the Athenian stage. We see Odysseus in many different plays, but having Hektor and his allies in a performance is a rare thing indeed. This play also invites us to think about the fixity of scenes from the Iliad we possess and the complex relationship between performative genres and audience expectations.

Euripides’ Rhesus 182

“It is right to cast your life in the dice game of fate
For things that are worthy.”

χρὴ δ᾿ ἐπ᾿ ἀξίοις πονεῖν
ψυχὴν προβάλλοντ᾿ ἐν κύβοισι δαίμονος.

Scenes (from George Theodoridis’ translation)

Section 1, Lines 1-223: Chorus, Hektor, Aeneas, Dolon 

Section 2, Lines 344-526: Chorus, Hektor, Rhesus  

Section 3, Lines 565-674: Odysseus, Diomedes, Athena, Paris 

Section 4, Lines 808-996: Hektor, Chariot Driver, Muse, Chorus 

Euripides’ Rhesus 394-397

“…I love to speak the truth
All the time and I am never a duplicitous man.
Long, long ago it would have been right for you to come
And share our pain…”

φιλῶ λέγειν
τἀληθὲς αἰεὶ κοὐ διπλοῦς πέφυκ᾿ ἀνήρ.
πάλαι πάλαι χρῆν τῇδε συγκάμνειν χθονὶ
ἐλθόντα

Performers

Hector/Odysseus – Tim Delap
Aeneas/Rhesus/Athena/Chariot driver – Tabatha Gayle
Dolon/Diomedes/Muse – Evelyn Miller
Chorus/Paris – Paul O’Mahony
 
Special Guest, Mary Ebbott

Euripides, Rhesus 497-500

“Ajax doesn’t seem to me to be any lesser than him
Nor does Tydeus’ son. But that Odysseus,
He is the most twisted crook, a man bold enough to be arrogant,
One who has outraged this land most of all.”

Αἴας ἐμοὶ μὲν οὐδὲν ἡσσᾶσθαι δοκεῖ
χὠ Τυδέως παῖς· ἔστι δ᾿ αἱμυλώτατον
κρότημ᾿ Ὀδυσσεὺς λῆμά τ᾿ ἀρκούντως θρασὺς
καὶ πλεῖστα χώραν τήνδ᾿ ἀνὴρ καθυβρίσας·

Producers and Crew

Artistic Director: Paul O’Mahony (Out of Chaos Theatre)
Associate Director: Liz Fisher
Director of Outreach: Amy Pistone (Gonzaga University)
Dramaturg: Emma Pauly
Executive Producer: Lanah Koelle (Center for Hellenic Studies)
Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society)
Poster Artist: John Koelle
Poster Designer: Allie Marbry (Center for Hellenic Studies)

Euripides, Rhesus 756-57

“In addition to our suffering, this has been handled
With the greatest shame. This doubles the pain.”

κακῶς πέπρακται κἀπὶ τοῖς κακοῖσι πρὸς
αἴσχιστα· καίτοι δὶς τόσον κακὸν τόδε·

Upcoming Episodes (Go to CHS Project Page for more information)

Saturday, October 17 Assemblywomen, Aristophanes
with Francisco Barrenechea (University of Maryland, College Park)

October 21 Agamemnon, Aeschylus
with Fiona Macintosh (University of Oxford); translation by O. Taplin

October 28 Libation Bearers, Aeschylus; translation by O. Taplin

November 4 Eumenides, Aeschylus
with Ellen McLaughlin (Barnard College) and Andrew Simpson (Catholic Univeristy of America); translation by O. Taplin

Euripides, Rhesus 938-942

“Athena, you deserve the blame for this.
Odysseus and the son of Tydeus didn’t do it
Don’t imagine you sneaked by me.
Still, my sister Muses and I honor your city
Most of all….”

καὶ τοῦτ᾿, Ἀθάνα, παντὸς αἰτία μόρου—οὐδὲν
δ᾿ Ὀδυσσεὺς οὐδ᾿ ὁ Τυδέως τόκος
ἔδρασ᾿—ἔδρασας· μὴ δόκει λεληθέναι.
καίτοι πόλιν σὴν σύγγονοι πρεσβεύομεν
Μοῦσαι μάλιστα

Euripides, Rhesus 866

“I don’t know these Odysseuses you keep mentioning”

οὐκ οἶδα τοὺς σοὺς οὓς λέγεις Ὀδυσσέας·